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Posts from the ‘Made in the USA’ Category

Pairing Local Brands and Local Ingredients for Transcendent Results: Pendleton Woolen Mills Chocolates by ALMA

 

Copyright 2014_Lauren Modica

 Pendleton Woolen Mills is working with ALMA chocolates to develop small-batch chocolates in a delightful co-branding. Beautiful Pendleton packaging encases delicious, intense and inventive confections made of Portland’s Woodblock chocolate, Netarts Bay sea salt, Hood River cherries, Oregon hazelnuts, Sundance Lavender Farm’s lavender and more.

These world-quality ingredients help bring the flavors of the Pacific Northwest to chocolates that perfectly express Pendleton’s commitment to excellence. ALMA’s Hannah Sullivan calls it the Oregon Flavors Collection,  and it’s available now at Pendleton’s retail store locations across America. We suggest you get yours soon, as these are disappearing as soon as we put them out.

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Pendleton chocolates; isn’t this a dream come true?

If you’d like to understand why Pendleton chose ALMA to develop our chocolates, you should visit the ALMA store in Northeast Portland.

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You can browse the chocolates, baked and frozen treats.

 

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Your curiosity will be aroused and answered with a generous array of samples.

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Make your choice and take a seat with a freshly crafted coffee or tea drink, or treat yourself to a drinking chocolate. Try the Thai Coconut Cup; soothing, enlivened with notes of coconut, but never overwhelming despite the fact that you are essentially drinking melted chocolate. Best of all, you can visit ALMA’s beautiful icons; poured of single-source chocolate and gilded with edible gold leaf. There’s one for everyone you know.

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Sarah Hart and Hannah Sullivan, the mother and daughter team behind ALMA, bring a delightful pedigree to the work of creating Portland’s premiere chocolates.

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Sarah is a former college instructor at the University of Oregon who repeatedly found herself drawn back to the world of fine food throughout her life. She worked at Papa Haydn  after relocating to Portland, and went on to L’auberge. Sarah has received awards and accolades for her work with ALMA; the 2014 Good Food Award for flavor and sustainability, the 2008 Rising Star Chocolatier Award, and more. She’s also a Cooking Light 2010 Taste Test Winner. Sarah named the business after her grandmother, Alma, who had a special gift for feeding people.

Sarah’s daughter, Hannah, was born in Eugene and raised in Portland. It’s only natural that she moved to Brooklyn, the Portland of the east coast, after she finished college. Hannah worked as a pastry chef, worked at Penguin publishing before settling in as a food editor for Bon Apetit magazine. Brooklyn is one of the birthplaces of the Maker Movement, with its grassroots commitment to local materials and serious craftsmanship. Hannah was especially interested in the rise of artisanal food makers. As she puts it, she thought, “Hey, I know one of those.” She returned to Oregon in 2012 to join her mother in a transformation of ALMA that included opening a commercial kitchen to grow the wholesale side of the business.

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The result? Bliss, really. Whatever it is chocolate does for the body and brain (and scientifically, it’s suspected to do wonderful things), ALMA chocolate succeeds completely. We couldn’t be prouder of this small but delicious collaboration.

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 All photography in this post by Lauren Modica, copyright 2014. Usage rights retained by Pendleton Woolen Mills.

Macklemore: a Northwest Artist with Pendleton Wool

Macklemore is originally from Seattle, WA. Maybe that’s why his videos use Pendleton wool  letting us act as a signifier for the west and the wilderness.  We’re glad he hasn’t forgotten his Pacific Northwest roots.

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The train seats are upholstered with our Canyonlands fabric, and bring to mind the Portland Express run by AMTRAK last year. The blanket on the camel (okay, so maybe we don’t get that one, either) is one that benefits the American Indian College Fund called the Earth blanket. These are both great songs, but we’re still partial to his first big hit, which also celebrates a Portland passion; going to the thrift store. We don’t have anything in this one, but hey, don’t you love finding Pendleton when you’re thrifting?

 

Greg Hatten and a Wooden Boat Proposal

Greg Hatten is our guest blogger today. Usually he writes about heart-stopping whitewater river journeys in his wooden boat, the Portola. Today’s post is about another kind of adventure, and it’s more heart-tugging than heart-stopping. We hope you enjoy it.

My youngest daughter and her serious boyfriend, Josh, took an Oregon river ride in my wooden boat one hot summer weekend last year. Despite the lack of fishing time, we all had a great time. This trip was about the water, the waves, and the old man checking out the young man in my daughter’s life. He checked out fine. I liked him much more than the others that had come and gone before him.

One year later, he was eager to come back to Oregon. He was ready to get back in the boat and maybe catch a steelhead on a fly. Understand, this is an accomplishment that requires thousands of casts and years of suffering broken rods, broken leaders, broken spirit. But he had a goal, so we saved the date. As it approached, his interest and questions about the details of the trip increased.

It was going to be a hot, sunny day. We started early. ‘0 dark 30 early, 4:30 AM early. Mentally making our offerings to the steelhead gods, we climbed in my FJ40, pulled the choke, turned on the headlights and headed up river, boat in-tow. We pulled into the boat launch. Judging by the lack of trucks and boats at the ramp, most fishermen had stayed in bed, conceding the day before it even began.

The most elusive of Pacific Northwestern fish proved to be just that. For two hours we fished some of the best pools and slots on the river and felt nothing – not a bite, not a hit, not a take-down, no sign of a steelhead. A familiar fishless ache in my gut prompted me to remind Josh of the degree of difficulty and disappointment associated with chasing steelhead on the fly. And then–WHAM! Josh felt “the tug” — a strong one – and suddenly line was peeling off the reel and the rod was doubled over in a rainbow arc. I heard him say, “WOW.”

It was a great fight with impressive runs and a few sharp jumps caught in vivid HD by the Go-Pro mounted on the bill of a fishing hat. A thirty minute tug-of-war brought a tired fish to the net and into the boat. He did it! On one of the hottest, sunniest days of the summer, Josh had hooked and LANDED his first steelhead on the fly.

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We took the required pictures. He sat there holding the big fish in my boat, looking very serious and clearing his throat. Then he asked my blessing to propose to my daughter. Then it was my turn to feel “the tug,” and Josh heard me say “WOW.” But this had nothing to do with a fish. I thought, are you kidding me? Who’s writing the script for this? He’s holding a trophy fish in my wooden boat and asks for my daughter’s hand in marriage. What could a fly fishing father say but, “Let me shake your slimy hand and welcome you to the family, Son.” Especially since fifteen minutes later, in the very next pool, Josh hooked up and landed a second steelhead in a battle that was even more dramatic than the first. That time, we both said, “WOW”.

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That evening, after a dinner of fresh steelhead on the grill, Josh pulled out a ring and proposed to my daughter Sarah by the light of the campfire over the sound of the McKenzie River flowing behind Eagle Rock Lodge. She said yes. And then I’m pretty sure she said, “WOW.”

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Quite a day.

 

Our congratulations to the happy couple. Be sure to read about Greg’s river adventures here, here and here.

German VOGUE–Summer 2014

We had a gorgeous feature in German VOGUE this summer. The weathered walls and dry landscape make an atmospheric backdrop for our Native American-inspired blankets. Please click for larger views!

Cover with the NIKE N7 blanket, which benefits the American Indian College Fund: Innovation meets tradition with this collaboration between Nike N7 and Pendleton Woolen Mills. For inspiration, Nike designer Derek Roberts looked to traditional Native American dress and how the patterns work together to create a garment. He started at the bottom of the blanket with a smaller pattern of arrows that repeats and grows in scale toward the center. The top is a mirror image of the bottom. Putting a unique twist on the traditional Pendleton blanket, he used only black and white instead of the usual multitude of colors. The result is a distinctive, contrast-driven look that subtly blends black and white to create varying grey tones in heathered and color-blocked designs. The center of the blanket prominently features the Nike N7 mark–three arrows pointing back to signify past generations, three arrows pointing forward to signify future generations, and arrows in the center to represent the current generation. The arrows, sometimes appearing as triangles or other shapes, convey both movement and balance. The blanket reverses for a positive/negative visual effect–with a black base on one side and white on the other.

 

The Crossroads  blanket.

The Crossroads design reflects First Nations teachings and the power of the four directions – the number “four” is sacred among many Native American tribes. East represents the physical body, the realm of the Warrior. West represents the heart and the path of the Visionary. North is the region of the mind and the wisdom of the Teacher. South represents the spirit, enlightenment and the realm of the Healer. Balance and harmony are achieved where the directions meet at the center of the Medicine Wheel. Crosses in this jacquard pattern symbolize the crossroads where the paths meet – the place where an individual becomes whole.

 

The San Miguel blanket.

A pattern inspired by mid-to-late 19th-century Native American weaving traditions and the influence of Spanish missionaries in the Southwest. The design's roots are in the traditional banded Chief Stripe pattern which evolved into a "nine-element" layout. The reversible jacquard has two dramatically different looks.

 

The Saxony Hills blanket.

The Saxony Hills Blanket references the changing landscape of Navajo weaving in the 1800s. Spanish explorers had introduced Churro sheep to the Southwest in the late 17th century. The Churro bred by the Navajo produced a somewhat coarse, long-staple wool that was hand-spun and woven into shoulder robes or blankets, shirts and sashes. Hand-spun wool from these animals was the main source of yarn for Navajo blankets until the 1860s. Then Saxony yarns arrived in the Southwest by way of the Santa Fe Trail and later the railroad. These fine 3-ply yarns spun from the wool of merino sheep were produced in Saxony, a former German state, and in England, France, and New England. By the mid-1900s, Saxony yarns were used by the Navajos for general weaving. The Saxony Hills Blanket incorporates traditional, geometric Navajo motifs—diamonds, stepped triangles and Spider Woman cross patterns.

All blankets are available at pendleton-usa.com.

Blake Lively and Pendleton

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Blake Lively in August’s VOGUE. The blanket is our Midnight Navy Stripe in Pendleton Eco-Wise Wool.  You can see Ms. Lively’s new American lifestyle blog, Preserve, here.

 

Blackfern Boards x Pendleton, up close

The weather is right for hitting the waves. We’re celebrating summer this year with a Blackfern collaboration; two boards that are part of our Surf Pendleton collection. So here, in their own words, are all the steps that go into making these fine boards–one at a time, all by hand.

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Making the Pendleton Limited Edition Surfboard

Each Pendleton Limited Edition Surfboard is shaped, painted, glassed, sanded, and glossed by hand in Blackfern’s fabrication studio in Portland, Oregon.

Retro Styling

For the Pendleton Limited Edition Surfboard, a 1960′s era single fin model was chosen.  This timeless retro board embodies the lifestyle of the era; clean, simple, and stylish.  Many of these retro shapes are having a resurgence in popularity because of their versatility in a range of surf conditions.  The board style pays homage to an era in which Pendleton was a vibrant force in Californian surf culture.

The Process Starts

The first step in the fabrication process is to trace out the outline of the board onto a blank, which is a rough-cut piece of foam that resembles a surfboard, albeit not a very functional one.  The outline is cut out of the blank, not unlike making Christmas cookies, and the excess foam is removed.  The outline is then tuned by a rasp-like tool called a surform, in order to hone the perfect curve that will define the finished board.

From Bottom…

The next step is to craft the bottom of the board.  This process begins by power planing or “skinning” the protective outer shell of the blank that protects the softer foam within.  After the skin is removed, the bottom contours are shaped in by removing material with additional passes with the power planer, surform, and finally, sanding blocks.  The single fin model features shallow concavity through the middle of the bottom, blending into a V contoured tail.  These contours give the board a loose and nimble feel with higher performance than would be achievable with a flat bottomed board.

…To Top

At this point it is time to flip the blank over and begin working on the top of the board.  Similar to the bottom, the first step is to remove the protective skin of the blank.  During this process,  I start to flesh out the top contours and the “foil” of the board.  Foil refers to the changing thickness, both from the center towards the rails as well as from the tip to the tail of the board.  It is during this process that a shaper’s ability to visualize in three dimensions becomes crucial.  Knowing where to remove material and in what quantity can be tricky.  The goal is to produce a smoothly foiled board; maintaining volume in helpful areas and removing it where unneeded.

Forming the Rails

After the top has been shaped and foiled, its time to move onto the rails of the surfboard.  At this point the board has a functional top and bottom but with its boxy, vertical rails, it would be miserable to surf.  To form a smooth curving rail, I begin removing rail material in the form of rail “bands.”  Bands are sloped ridges that run the length of the board; thickest at the middle and thinner towards the tip and tail.  By removing rail material incrementally in these stepped ridges, it is possible to produce a rail that changes shape and thickness in a controlled and consistent fashion.  Once the bands are crafted to satisfaction, the board is turned onto its rail and I begin passing a sanding screen over the ridges of the “bands.”  After screening repeatedly, the ridges disappears and a smoothly curving rail emerges.

Finishing Foam Touches

The final steps of the shaping process are to install the slider single fin box and to finish sand the entire shaped surfboard to a buttery smooth finish.  The board is signed off to the customer who ordered it.  I write the customer’s name, the dimensions of the board, and finally “Pendleton Surf Limited Edition.”

Getting that distinctive Pendleton look

The specialized Pendleton artwork is applied before glassing the board.  The two color versions vary on their preparation.  To produce the characteristic plaid pattern, I start off by creating a series of vertical stripes that represent the four primary colors of the pattern.  I then lay out horizontal bands that cross directly over the vertical bands.  I use the same four primary colors and spray through a sanding screen, producing the blended color tones featured in the plaid print.  Finally, I add a band of dark color around the rails of the surfboard to form a frame of sorts.

For the striped version, I tape off three zones of the board; center, nose, and tail.  Within these zones, alternating colored bands of varying thicknesses are laid down to form the distinctive, classic pattern.

Onward to Glassing

Glassing is only achievable in incremental steps, similar to the process of shaping the foam of the board.  Glassing consists of four separate treatments of resin that constitute the glassing process; two laminations and two hotcoats.  A lamination is the process through which fiberglass cloth, saturated with resin, is bonded to the fragile foam core.  A hot coat is an additional layer of resin that helps protect the fiberglass cloth and completely seal the inner foam core.

Laminations

The first lamination occurs on the bottom of the surfboard.  To prepare for the lamination, the top of the board is taped and masked to avoid being exposed to resin prematurely.  A piece of fiberglass cloth is rolled out over the length of the board and is cut so that the fabric drapes over the rails, usually extending approximately 2-4 inches below the beginning of the rail.  Surf Pendleton and Blackfern decals and fin boxes are dry fitted to ensure that no mishaps occur.  The entire surface of the board is then “wetted out” with polyester laminating resin.  A squeegee is used to work the resin into the porous foam of the board and to fully saturate the fiberglass cloth.  The cloth is carefully wrapped over the rails and the board is left to harden or “cure”.

Once the bottom is cured, the board is flipped over and the same process is done to the top, this time with two layers of fiberglass cloth to add additional strength to the deck.  After wrapping the top layers of fiberglass onto the bottom of the board, the resin and fiberglass are left to cure once again.

Hotcoats

To hotcoat the board and finish glassing the board, another coat of polyester resin called sanding resin is applied to each side of the board.  This process is among the most simple of all the steps of surfboard fabrication – resin is poured out of a small pail and then spread evenly over the surface of the board with a large paint brush.  Each side is left to cure before flipping the board a final time to hotcoat the other side.

Hot coating produces a slick, imperfect surface.  In order to make it ready for use, every square inch of the board must be sanded.  Sanding makes the surfboard finally feel like a surfboard; smooth, strong, and perfect.  Many boards are considered finished and ready for use at this stage but the Pendleton boards receive one additional treatment – a gloss coat.

Glossing

The gloss coat is nearly identical to the hotcoat.  The only major difference in the processes is that the gloss coat resin is slightly thinner and is applied to a perfectly smooth, even surface.  As a result, less resin is required and a perfectly smooth surface is formed.  Even so, the entire board is sanded again to make it ready for use.  Successive sand paper treatments, each one higher grit than the last, are used to form completely smooth and scratch free surface.

Finishing Touches

To bring a shine to the finished product, buffing compound is applied using a woolen compounding bonnet.  Finally, a treatment of polishing compound is applied to all surfaces of the board using a polishing pad to give it a candy-like luster.

Launch

Tools and hands have passed over every square inch of this board dozens of times and, at last, this Pendleton Limited Edition Surfboard is ready to ride!  Get ready to catch some great waves!

 

 

Patriotic Blankets for July 4th

We have woven many blankets that celebrate American patriotism over the years, from the Grateful Nation and Code Talker blankets that celebrate the contributions of our veterans, to retired blankets like Chief Eagle and Home of the Brave.

Here are two beautiful blankets that summon the patriotic spirit of this Independence Day.

Dawn’s Early Light:

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“O say can you see by the dawn’s early light.” These words were penned on the back of an envelope in 1814 by young lawyer and poet Francis Scott Key. Key was held captive on a Royal Navy ship as British ships in Chesapeake Bay bombarded Fort McHenry throughout the night. When dawn broke, the fort was still standing, the American flag still waving. It was a turning point in the war of 1812, and the birth of our national anthem, the “Star Spangled Banner.” This blanket, woven in our American mills, commemorates the Bicentennial of that momentous morning in U.S. history. Fifteen red and white stripes and stars represent those on the flag at that time. Each star is shaped like an aerial view of the fort, which was built in the shape of a five-pointed star. Striations and imprecise images give the design a vintage Americana look.

Brave Star:

Brave_StarThis contemporary interpretation of the American flag is a celebration of the patriotism of Native Americans. In 1875 Indian Scouts carried messages from fort to fort in the West. Native American soldiers saw action with Teddy Roosevelt’s Rough Riders in Cuba. And soldiers from many tribes battled in World War II, Korea, Vietnam, the Persian Gulf and Iraq. Five Native Americans have been awarded the Medal of Honor for bravery “above and beyond the call of duty.” The design marries modern asymmetry and vintage Americana. The unique striations, using pulled out yarns, reflect an era when dyes were made from plants.

Have a great Fourth!

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The Heart of the Mountains

Russian VOGUE traveled to Central America for a dramatic editorial, “The Heart of the Mountains,” and they brought along some Pendleton beauty.

Below, a Pendleton Serape (in black) and Compass Stripe blanket:

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And the Heroic Chief backpack in this shot:

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Serape and backpack available at pendleton-usa.com.

 

 

Porter Magazine and the Basket Dance

Net-a-Porter’s third issue of Porter Magazine features our blankets in a beautiful way. Basket Dance and Spider Rock never looked so stunning.

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All model shots courtesy  PORTER magazine.

Running a Rapid in the Grand Canyon by Greg Hatten

Time for another guest post from our friend Greg Hatten, in which he replicates a run from the 1962 trek down the Colorado River in the Grand Canyon. This one is exciting, so hold on.

We scout the big ones – the ones you can hear for a half mile before you can see – the ones that sound like a freight train when you stand beside them.  The ground trembles.  Their names are spoken with respect and dread around the campfire at night and over coffee in the morning… House Rock, Hermit, Hance, Granite, Bedrock, Crystal, Lava…

1_credit_-John_SchroederIzzy & I Scouting a Rapid   photo credit:  John Schroeder

Just above Granite Rapid at mile mark 94, we pull our boats to shore on river-left, tie up, and hike down the river over unstable river rocks to “scout”.    It’s rated a 9 + on a scale of 10 by Larry Stevens in his River Runner’s Map and Guidebook to the Colorado River – one of the most difficult on the river.  Halfway down this rapid is one of the largest and most violent holes we have seen on the trip.  We stop at the midpoint of the rapid to have a closer look.  We watch, mesmerized, as water pours over a huge boulder we cannot see and then dives ten feet down with so much force it creates a wall of water that slams back upriver to create a turbulent cauldron and a suck-hole that we must avoid.  We are transfixed and for a long moment we can’t look away.   I wonder to myself, if a boat got sucked into that, would it EVER come out?

Scanning the river for a possible path through the rapid (the “line”) we speak a boatman’s language of laterals, V-waves, pour-overs, eddies, and cheater lines.  There is a seriousness in our tone this morning as we dissect the rapid and discuss what we see.  I love the banter, I respect the experience, I trust the judgment of these teammates.

Two days ago my boat was swallowed and flipped in an ugly hole at Grapevine – a Class VIII.  My boat took a beating and so did my confidence.  It’s on my mind as the hole in front of us thunders away and we continue to search for the “line.”

There are big rocks all the way down the left side which appear and then disappear with the crashing waves.  At this low water level those rocks would tear our boats to pieces… left side is not open today.  We look at the middle run but everything coming down that V-wave is getting sucked into the hole-that-must-be-missed, so it’s not an option either.  The only path we see at this level is a far right run where a ridge of water is formed by the current careening off the canyon wall.  The run requires a boat balancing act on a tight wire of white water that’s uncomfortably close to the canyon wall.

2_credit_Dave_MortensonPortola popping out of the hole – Photo credit:  Dave Mortenson

The hard part is getting up on that water ridge in the first place.  There is a hole above the ridge on the far right side of the river formed by the first steep elevation drop.  If you can put your boat half in the hole and half out of the hole, it will pop your boat out and fling it right on top of the ridge for a twenty second thrill ride to the bottom.  Hit the hole too far right & you’ll get sucked into it.  Skirt the hole too far left and you’ll miss the ridge and be swept into the V Wave and the big dangerous hole we must avoid.

We are all agreed – it’s a far right run.

After the scout, it’s a quiet walk back up to the boats.  We are alone with our thoughts and visualizing our moves and I pose the question to myself… again… “why am I doing this”?

3_credit_Dave_MortensonPortola riding the ridge  Photo Credit:  Dave Mortenson

Robb goes first – he’s been rowing since he was four years old and makes every rapid look easy.  He gives us confidence as he hit the exact line we talked about and has a splashy ride down the ridge.  Perfection.  He pulls into an eddy below the rapid and sets up for rescue as a safety precaution.

Steph is next – he’s rowing the Susie Too – a remake of the original from 1962 and a twin hull of my boat, the Portola.  He takes the Susie Too over the first big drop and disappears.  His line is a little too aggressive – his boat is too far into the hole at the top.  The power of the hole grabs his right oar and almost pulls him out of the boat.  The force is so strong it springs the brass oar lock and releases the oar which is now useless in his hand.  He slams the oar back in place just as he gets spit out of the hole, a little sideways and twisted, but up on the ridge none-the-less.  A quick correction and he rides the ridge like a bucking horse although dangerously close to the wall.  Nice!!

4_credit_Izzy_CollettExploding wave   Photo Credit – Izzy Collett

I tighten my life jacket, put on my helmet, and row quietly to the other side of the river several hundred feet above Granite.  The approach to the infinity edge is slow.  Too slow.  Too much time to think about my disaster at Grapevine.  I snap back to the moment and reach the edge where I can finally see down the steepness of the other side and know for the first time that my alignment is spot on.

This is the nerve that Craig Wolfson talks about.  I’m lined up to hit one hole so I can miss a bigger hole and it’s only two days and twelve miles after almost losing my boat and my passenger in a hole that looks a lot like these.

5_credit_Izzy_CollettSliding down the backside   Photo Credit – Izzy Collett

I drop over the top and everything speeds up – now I’m racing for the edge of the hole on the right.  Half in half out – I hit it perfectly and I keep my right oar up away from the turbulence (thanks Steph).  I’m rewarded by a clean exit from the hole and a little air as I get deposited right on top of the ridge of water.  I ride the waves as they explode under my boat and shoot me down the other side.  The canyon wall is cozy and I feel like it’s inches away from the tips of my oars.  I go speeding by the hole-that-must-be-missed on my left. It’s so close I can touch it with my oar.

6_credit_Dave_MortensonSpeeding by the big hole – Photo credit:  Dave Mortenson

One more big wave at the bottom and it’s over.  In 20 seconds.  Wow…and then I remind myself – “THIS is why we do this!!”

That run at Granite restored my confidence – which would be tested repeatedly over the next 190 miles.  Three days later I would flip in Upset Rapid – Class nine.

 

7_credit_Dave_MortensonPortola flips in Upset – Photo credit:  Dave Mortenson

It had a bigger hole than Granite on the day it got me…but THAT’s another story.

8_credit_Dave_MortensonPendleton Blankets drying – Photo credit:  Dave Mortenson

You wreck a wood boat, you fix it.  You flip a wood boat, you dry out your blankets. And that’s how you run a rapid.

Coming up in Part III…read about night-life on the Colorado.  Ever wonder what it’s like to sleep in the canyon for a month or how we cook, clean, relax, and get re-charged for a challenging day on the river?  Read about it next week and enjoy some beautiful night-time shots in “Night in the Canyon”

 

 

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